I see over 200 films per year, from opening through ending credits, and have done so every year since 1981, in theatres with the best available auditoriums and the best available equipment. I have seen most major pre-1980 films at the theatre during release period, from 1957 on, or upon re-release of technically updated prints like Casablanca, Citizen Kane, Gone with the Wind, etc. Films not re-released for the big screen have been viewed on the damn box, unfortunately. I have had extensive conversations with filmmakers at special screenings with industry friends, UCI film extension courses, and special screenings with filmmaker participation at local theatres open to the public. I began writing reviews in February 2003 after years of requests from various sources.

Criteria for Choosing Which Films to Review

I try to avoid the previews (trailers), reviews, and hype of a film before I see it. I also mostly avoid Hollywood hash as much as possible, ie; Dumb & Dumberer, 2 Fast, 2 Furious, etc. I tend to only review very good films or very bad films that were supposed to be good. I especially review bad films that were highly praised by most other critics (All the Reel Girls) and good films that received generally poor reviews (The Life of David Gale).

Criteria for Review Content

Since I mostly write for publication, brevity is of the utmost importance. I mostly shun expository regurgitations of the story because it spoils the film for the intelligent reader, those types of reviews are prevalent everywhere, and I don’t need to convince myself that I saw the film and remember it.

I work hard to provide the attentive reader all the implications, correlational references, and clues required for them to make an intelligent decision on whether to see the film without giving it all away. I do this by using the categorical fields as well as the body to define the experience. It’s better to relate too little than too much. This is a tricky business and a responsibility that I don’t take lightly. Film going is expensive and the cost of peripheral expenses incurred on a night out can be stiff. Since I review “in theatre” films, I care that the reader has accurate information to make an educated decision while retaining the right to experience the film “fresh” and draw their own conclusions.

From time to time, I put forth a film analysis along with or despite a review. In this format, I will refer to major plot points to make my points regarding how the films relates to peoples life experiences and to make a case for or against. I do these rarely, when detailed discussion is compelled by the nature of the film.

I may rate a film well done with 4 stars, through field descriptions, and some body admissions, even though it’s not my cup of tea, rendering the review almost schizophrenic. My opinion is not as important as describing the qualities of a well-made film. My not liking it has more to do me than the film. It’s my way of disqualifying myself. This is valid and more honest than most reviewers are likely to get. We all have different film resumes and bring different baggage into the dark room with us, so it’s not always possible transfer usable info on strictly subjective terms. Sometimes I enjoy a poorly made film and sometimes I have no interest in a top quality film. The totality of my review is to be considered, not just what’s in the body. You may like a film I don’t and vice versa, but the craftsmanship should be judged as objectively as possible.

Finally, films are supposed to be fun. It is with that spirit that I try to inspire, provoke, and entertain. To challenge the reader to see films they may not normally consider. Even if the reader concludes that my review is all wet, at least I hope they grin once or twice while reading it. Also, at times, I include some comments that can only be understood after one has seen the film. So, y’all come back and read my reviews after you see the movies featured.

Criteria for Analysis

Most of the films I see currently are not big budget studio films. My criteria for film analysis is as follows, in order of importance:

• Compelling original story or angle on a story

• Rational plot development and continuity

• Thoughtful, polished script

• Good casting based on script not on management deals

• Compelling performances

• Tight editing, appropriately paced.

• Rich, detailed camera work on inventive sets and locations

• Well-chosen soundtracks with good dynamic range and accurate foley with good use of surround sound

• Effective special effects that aid the story, not overpower it

• Amount of payment received upon publication of a favorable review (kidding..:)

Feedback and Commentary from Readers

I am using this venue for practice. I’m not here to get peer approval or earn tokens. I appreciate comments regarding what is said in my reviews, whether positive or negative, not what is unsaid. I would appreciate no comments by advisors nicely trying to help poor little me get better grades by telling me what to include so that LCD folks can understand the story. I work very hard not to expose key plot elements while dancing around the obvious to present subtle reasons to either see or not see a film. My reviews are not for everyone. They are probably best left to those who are actually considering seeing the film in the theatre, or to those who have seen the film already and want to test their take against mine.

As a reader, I rarely rate the movie review of another reviewer, because I have seen the film and am analyzing the review for content and style and to gain new insights, not whether it is “helpful” to me in deciding on making a purchase. If I haven’t seen the film, but know that there is little possibility that I will review it, I will scan the review to avoid plot giveaways. I appreciate good writing and analysis. If I read something worth commenting on, I do so accordingly. ____________________________________________________________

As a way to provide insight into what I value in film, I present the:

10 Best Films of 2002

Spirited Away (Pixar English Version)

Not only the best-animated film, the best film period. Most original, inventive, creative, and continually exhilarating are just a few ways to describe this Miyazaki masterpiece. Well written, perfectly directed, beautifully drawn cels, and wonderfully acted, this is pure excellence for ages 8 and up

Adaptation

Highly inventive, brilliantly neurotic, self-examining script with a glowing cast. The film is complex and layered but never leaves you in the dark. I was disappointed by the last 20 minutes the first time through, but if you can, see it again, and you will be thrilled by the entire experience. Bravo, Charlie, Bravo.

Catch Me If You Can

The only thing missing from this stylish autobiography is the song by the Dave Clark Five. Hanks just keeps getting better film after film and considering his resume, that’s quite amazing. Leo cooks, Walken rocks, and every aspect of the film, from the fabulous opening credits, is certified 60’s. What a romp. Funny and heartfelt. Could be Spielberg’s most charming film. I can’t believe this story hasn’t been told until now. Definitely Top Five of 2002. Come fly with me…

The Russian Ark

A fabulous tour of l’Hermitage, shot in one uninterrupted take, covering over three hundred years of Russian History. Great acting, camera work, script, setting, music, art, and ambience. Everything you would expect of top-notch Russian filmmaking. It all goes by too quickly and it’s best to see it at least twice as it takes a bit of time to figure out what is going on. A treasure trove. Forget Noah’s and take this vessel.

Bowling for Columbine

It’s a 300 game from opening strike to the one that levels Moses. It was an Oprah must see and that’s good enough for me. So get on down to GunsRUS and prepare for doing battle with the wacky Iraqi. Be a strong American. Cover your house in plastic and get out there and bag a terrorist for Dubya.

The Road to Perdition

Gorgeous to look at with a sensational cast, Sam Mendes (American Beauty) has added another gem to his repertoire. Hanks is wonderfully understated, Newman is as icy as Lakeshore Drive in January, with a fabulous supporting cast. The story is visceral and personal, and the tension, even in quiet moments, never let’s up. It’s worth a second look.

Minority Report

Spielberg pulls off a complex story with Ashcroftian overtones. Cruise is solid and the rest of the cast is superb with Samantha Morton mystically transcendent. Breathtaking to look at, superior sound, with great special effects. This is what big studio Hollywood can do when it trusts a good story and brings it to life.

Far From Heaven

A moving tribute to Douglas Sirk with a first rate cast. Julianne Moore is exceptional with great performances out of the two Dennises, Quaid and Haysbert, and Patricia Clarkson in support. This IS the 50’s and the art design and cinematography are stunning. It is well written and directed by Todd Haynes, who dares to say what couldn’t be said in the day, making this a very interesting journey into the past.

The Cat’s Meow

Delightful film about a suspicious yachting adventure featuring William Randolph Heart as a possible murderer. The writing is snappy, the editing tight, and the art direction captures the look of the twenties to perfection. Kirsten Dunst becomes a Movie Star in this film and the rest of the ensemble cast is inspired. Bubbly score with creative foley makes the sound intoxicating. Peter Bogdanovich is back. You will leave with a smile on your face.

Gangs of New York

Fabulous satire of religion, tribal prejudice, bureaucratic snafus, political mayhem, ignorant immigrants, and strange bedfellows. Who but Scorsese could get away with this outrageous epic? Great cast, great performances, visceral theatrics. Refreshingly original, fun and exciting.

The Next Ten Best

Frida

Salma Hayek IS Frida Kahlo and Julie Taymor once again directs a very seductive story with sumptuous art direction. The rest of the cast works well, especially the underrated Alfred Molina and the editing keeps the story moving at nice pace. This film is an uplifting inspiration and evokes the artiste in all of us.

Igby Goes Down

Excellent, biting coming of age film that pulls no punches. Kieran Culkin provides an antagonist with attitude and brains. The rest of the cast plays flawed, dysfunctional characters of the New York moneyed class to perfection. Burr Steers, a nephew of Gore Vidal displays some of his Uncle’s flair in his first attempt at being a writer/director. The soundtrack rocks and the story will keep your intellect engaged. It’s a dark story that enlightens. Have fun!

The Man From Elysian Fields

Deliciously seductive morality tale of Faustian bargains. You will have sympathy for the devil with Mick Jagger doing a best supporting actor turn as the master of Elysian Fields. This film requires first-rate performances from a first rate cast and it gets it. The shots of James Coburn walking down a hallway rival the tricycle in The Shining. Pasadena plays a perfect backdrop for those that know the area. The art direction is on the money and Mick’s suits are a costumers dream. This is a deal worth risking.

Brotherhood of the Wolf

A very strange, creative collaboration of many countries. Like the Euro, this effort unites the financing while allowing the elements their unique differences. Complex story of intrigue and swashbuckling and so many subplots you need an atlas to track them all. This is sexy, fun, dramatic and terrifying. It does a good job of marrying the components into a savory stew of delicious entertainment.

No Such Thing

This small, low budget indie is flat out the most philosophically intelligent film of the year. While it has the appearance of Beauty and the Beast do Iceland, it goes much deeper. It also includes some scathing commentary on the modern media and the creation of celebrity. Hal Hartley has written and directed some of the best indie films since the late 80’s and this one is at the top. The excellent cast includes the intriguing trio of Sarah Polley, Julie Christie and Helen Mirren. One of Hartley’s two mainstay leading men, Robert John Burke (the other being Martin Donovan) does an excellent turn as the depressed, misunderstood monster. This film shames critic’s indie darlings like Movern Caller.

Auto Focus

While this film may appeal to a limited audience, it hits a home run for those of us that can identify with the bizarre story of Bob Crane. I never knew much about him until he was murdered as he slept. But I found the mystery of his death fascinating. This movie really puts it all together. Greg Kinnear IS Bob Crane! It’s vanilla on vanilla yet the result is no less than Oscar quality. With actor extraordinaire Willem Dafoe as his creepy sidekick in Oscar gear again, this is an actor’s tour de force. The art direction is impeccable down to the minutest detail and the soundtrack is deluxe. We are there. Peeping tom voyeurs and loving every minute. Watching a straight-laced guy get kinky is quite fun. Although a tragic tale, it is fun to witness at a distance. Who knew Bob Crane was the pioneer father of porn videos. The San Fernando Valley should erect a statue in his honor.

The Quiet American

This is an unsettling film showing America’s early involvement in Vietnam, via the CIA and advisors, through the eyes of an experienced British journalist. Michael Caine is at his Oscar best in this complex role of a man coming to terms with the totality of his existence. It is a moving love story as well and presents the mixing of cultures in a multiplicity of ways. Exquisitely shot, this is a Vietnam War film with all of the impact of the big Hollywood epics while staying within itself delivering a very balanced film that every one of these Desert Warriors should see. Peace.

The Mothman Prophecies

This was the creepiest film of the year, bar none. Great visuals and a fabulous score are the backdrop for some very convincing performances by Richard Gere, Laura Linney, Will Patton and especially a two scene role played by Alan Bates that cements the film’s center and credibility. It’s this turn that makes all of the fantastical creepy stuff seem possible. Wonderfully written and directed, this is the film that Stephen King dreams that he had the talent to write. Seeing is believing…

My Big Fat Greek Wedding

The film that almost wasn’t. Even after Rita Wilson got hubby Tom Hanks to get behind filming Nia Vardalos’ play, the studios passed on the finished product. And even after pre-screenings produced laugh riots, they still declined. Go figure. So the rest is indie history. It played for nearly a year in Laguna Niguel and only ended its run AFTER the video became available. Basically, it was an organic foreigner fish out of water reversal comedy with a chemically explosive cast that produced loud laughter in large audiences of all ages and genders. No Hollywood studios, no car crashes, no buildings blowing up. Just people relating to each other in amusing ways. What a concept. Get out the Windex and see this film.

Rabbit Proof Fence

An enchanting journey into the Australian Outback with fascinating tour guides escaping the creeping pomposity of “civilization.” Based on a true story well told, well filmed, and well directed. This is a fine piece of natural art with a wonderful native cast and a good turn by Kenneth Branagh as the well intentioned Aussie bureaucrat. The sound track is intoxicating. Director Phillip Noyce had a career year with this film and The Quiet American.